OPERA REVIEW The Flowering Tree

Springtime in Chicago is a sensual time of year when the sun begins to warm us and our streets overflow with sweetly-perfumed apple, cherry, lilac, forsythia and magnolia blossoms in pastel pinks, yellows, reds and whites. Imagine transforming yourself at will into such a sensual flowering tree as an expression of love and devotion. Such is the basis of The Flowering Tree, a South Asian folk tale-turned-musical drama composed by John Adams to his own libretto (with frequent collaborator Peter Sellars), based on translations by A. K. Ramanujan. The story includes familiar elements of fairy-tale romance such as a poor girl, a prince, envy, separation, loss and redemption.

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Composer: John Adams (libretto by Adams and Peter Sellars At: Chicago Opera Theater, Harris Theater, 205 E. Randolph. Phone: 312-704-8414; $35-$120. Runs through: May 25. Photos by Liz Lauren.

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Adams and Sellars have structured the work as a tale sung by a narrator to an assembled group from which the poor girl and the prince emerge as the only other solo vocal roles. The rest of the ensemble takes on the substantial roles of chorus and corps de ballet. With few soloists and little direct dramatic action, The Flowering Tree really is a pleasantly engaging opera-ballet rather than pure opera.

The diatonic score should please Adams fans. It’s filled with the rich orchestral details, powerful polyrhythms and sensuous colorations for which Adams is known. Characteristically, his sweeping melodies in one orchestral section play over skittering and repetitive rhythms in another section. The writing for all sections is exceptionally full, but perhaps more so for the woodwinds where the flutes, deeply-rumbling bassoon and—I think—bass clarinet stand out. Surprisingly, Adams provides little South Asian exoticism; there’s no tabla, sitar or other non-Western instruments. Rather, exoticism is suggested by chromatics—often in the harp part—and percussion.

Indeed, the entire production, directed by Nicola Raab, eschews exoticism. It’s presented on a nearly-bare stage rather than with scenery suggested, say, by Mogul art. Similarly, the choreography by Renato Zanella makes only slight reference to South Asian classical dance. However, the bold scenic colors and costume designs—overwhelmingly gold and red with touches of blue and white—do borrow from Indian traditions, and that seems to be enough to judge by the cheering audiences.

They also cheer for the intelligent and moving readings of soloists Sanford Sylvan (baritone, Storyteller), graceful Natasha Jouhi (mezzo, Kumudha) and handsome Noah Stewart (tenor, the Prince) whose clarity of tone and crisp diction are impressive. The chorus (Stephen Hargreaves, chorus master) contributes a great deal, singing both English and ancient Tamil poetry in Orff-like aggressively contrapuntal and syncopated bursts. Unfortunately, the limits of projected English surtitles don’t effectively express the Tamil texts.

The Flowering Tree offers a model balance of orchestral, vocal and visual elements in a gently compelling work of the heart that reminds us to wake up and smell the flowers.